Curtains is a musical comedy with music by John Kander, lyrics by Fred Ebb, and a book by Rupert Holmes. The show originally opened on Broadway in 2007 and is a parody of the classic murder-mystery genre, set against the backdrop of a Broadway musical production.

The story unfolds backstage at a musical called Robbin' Hood of the Old West, where the cast and crew are preparing for its Broadway debut. During the opening night performance, the leading lady, Jessica Cranshaw, is mysteriously murdered on stage. Enter Lieutenant Frank Cioffi, a musical-theater-loving detective who is called to solve the crime. As he investigates, Cioffi becomes entangled in the show’s chaotic production, working to solve the murder while also trying to save the troubled musical from disaster. Along the way, he falls for one of the show's cast members, and the characters navigate romance, intrigue, and sabotage, all with a healthy dose of humor and catchy songs.

Curtains is a love letter to the world of theater, with witty dialogue, engaging songs, and a mix of suspense and farce. The show incorporates the trademark style of Kander and Ebb, known for their previous works such as Cabaret and Chicago, blending their musical prowess with Holmes’ humorous book.

The original Broadway production starred David Hyde Pierce as Lt. Cioffi, and the show garnered several Tony nominations, including Best Musical, Best Book of a Musical, and Best Original Score.

In the theatre, the proscenium is the illusory space that separates the performers from their audience. Often called “the fourth wall” today, mastering the physical space of the stage and transforming it into this illusory space is the key to making a show stake a strong connection: both with the cast and crews that build the show, and the people that come to enjoy it.

In honor of that traditional namesake - and, in order to give students their moment to master that strong connection, as performers, crew members, and pit orchestra members - John Jay’s Proscenium program is bent on providing the best opportunities for students to learn how to express themselves: both off- and on-stage. When it comes to off-stage expression, our rehearsals prioritize amplifying student voices. That air of inclusivity encourages students all throughout the company to share their feelings, their inputs, and their personal stories. This shapes student expressions on-stage and at work, then, into unique, honest connections with the characters they develop, the sets they build, and the music they play. 

All of the advisors of Proscenium are very proud to promote a program which uses the art of theatre to emphasize expression and connection above all else.